TedTest

From the Ted Talk by Beardyman: The polyphonic me

Unscramble the Blue Letters

I'd like you all to ask yourselves a question which you may never have asked yourselves before: What is possible with the human voice? What is possible with the human vocie? (Beatboxing) ♪ Ooh baby ♪ ♪ baby ♪ ♪ baby ♪ ♪ baby ♪ (Baby crying) ♪ baby ♪ (Baby crying) ♪ baby ♪ (Cat meowing) (Dog barking) Yeah. (Applause) (Boomerang noises) It was conimg straight for me. I had to. It was, yeah. As you can probably well imagine, I was a strange child. (Laughter) Because the thing is, I was constantly trying to extned my repertoire of noises to be the very maximum that it could be. I was constantly experimenting with these noises. And I'm still on that mission. I'm still trying to find every noise that I can possibly make. And the thing is, I'm a bit older and wseir now, and I know that there's some noises I'll never be able to make because I'm hemmed in by my piychasl body, and there's things it can't do. And there's things that no one's voice can do. For example, no one can do two notes at the same time. You can do two-tone sngniig, which monks can do, which is like... (Two-tone singing) But that's cheating. And it hurts your throat. So there's things you can't do, and these limitations on the human voice have always really aennoyd me, because beatbox is the best way of getting musical ideas out of your head and into the wlord, but they're sketches at best, which is what's annoyed me. If only, if only there was a way for these iaeds to come out unimpeded by the restrictions which my body gives it. So I've been working with these guys, and we've made a machine. We've made a system which is basically a live production machine, a real-time music production macinhe, and it enables me to, using nothing but my voice, create miusc in real time as I hear it in my head unimpeded by any physical rnerotcitsis that my body might place on me. And I'm going to show you what it can do. And before I start making noises with it, and using it to manipulate my voice, I want to reiterate that everything that you're about to hear is being made by my voice. This system has — thank you, beautiful assistant — this system has no sounds in it itself until I start pnuttig sounds in it, so there's no prerecorded spaelms of any kind. So once this thing really gets going, and it really strats to mangle the audio I'm putting into it, it becomes not obvious that it is the human voice, but it is, so I'm going to take you through it bit by bit and start nice and simple. So the polyphony problem: I've only got one voice. How do I get around the problem of really wanting to have as many different voices going on at the same time. The simplest way to do it is something like this. (Beatboxing) By dancing. It's like this. (Music) Thanks. (Applause) So that's probably the easiest way. But if you want to do something a little bit more immediate, something that you can't achieve with live looping, there's other ways to layer your voice up. There's things like pitch-shifting, which are awesome, and I'm going to show you now what that sounds like. So I'm going to start another beat for you, like this. (Beatboxing) There's always got to be a bit of a dance at the strat, because it's just fun, so you can clap along if you want. You don't have to. It's fine. Check it out. I'm going to lay down a bass sound now. (Music) And now, a rockabilly guatir. Which is nice. But what if I want to make, say, a — (Applause) — Thanks. What if I want to make, say, a rock organ? Is that possible? Yes, it is, by recording myself like this. (Organ sound) And now I have that, I have that recorded. Assign it to a keyboard. (Music) So that's cool. (asapulpe) But what if I wnated to sound like the whole of Pink fyold? Impossible, you say. No. It is possible, and you can do it very simply using this machine. It's really fittnaasc. Check it out. (Music) So every noise you can hear there is my voice. I didn't just trigger something which sounds like that. There's no samples. There's no synthesizers. That is literally all my voice being meinaualptd, and when you get to that point, you have to ask, don't you, what's the point? Why do this? (Laughter) Because it's cheaper than hiinrg the whole of Pink Floyd, I suppose, is the easy answer. But in actual fact, I haven't made this machine so that I can emtluae things that already exist. I've made this so that I can make any nsioe that I can iimgane. So with your permission, I'm going to do some things that are in my mind, and I hope you ejnoy them, because they're rather unusual, especially when you're doing things which are as unusual as this, it can be hard to believe that it is all my voice, you see. (Voice etfefcs) (Music) Like this. (Music) So, lleoosy defined, that is what's possible with the huamn voice. Thank you very much, ladies and gntmeeeln. (Applause)

Open Cloze

I'd like you all to ask yourselves a question which you may never have asked yourselves before: What is possible with the human voice? What is possible with the human _____? (Beatboxing) ♪ Ooh baby ♪ ♪ baby ♪ ♪ baby ♪ ♪ baby ♪ (Baby crying) ♪ baby ♪ (Baby crying) ♪ baby ♪ (Cat meowing) (Dog barking) Yeah. (Applause) (Boomerang noises) It was ______ straight for me. I had to. It was, yeah. As you can probably well imagine, I was a strange child. (Laughter) Because the thing is, I was constantly trying to ______ my repertoire of noises to be the very maximum that it could be. I was constantly experimenting with these noises. And I'm still on that mission. I'm still trying to find every noise that I can possibly make. And the thing is, I'm a bit older and _____ now, and I know that there's some noises I'll never be able to make because I'm hemmed in by my ________ body, and there's things it can't do. And there's things that no one's voice can do. For example, no one can do two notes at the same time. You can do two-tone _______, which monks can do, which is like... (Two-tone singing) But that's cheating. And it hurts your throat. So there's things you can't do, and these limitations on the human voice have always really _______ me, because beatbox is the best way of getting musical ideas out of your head and into the _____, but they're sketches at best, which is what's annoyed me. If only, if only there was a way for these _____ to come out unimpeded by the restrictions which my body gives it. So I've been working with these guys, and we've made a machine. We've made a system which is basically a live production machine, a real-time music production _______, and it enables me to, using nothing but my voice, create _____ in real time as I hear it in my head unimpeded by any physical ____________ that my body might place on me. And I'm going to show you what it can do. And before I start making noises with it, and using it to manipulate my voice, I want to reiterate that everything that you're about to hear is being made by my voice. This system has — thank you, beautiful assistant — this system has no sounds in it itself until I start _______ sounds in it, so there's no prerecorded _______ of any kind. So once this thing really gets going, and it really ______ to mangle the audio I'm putting into it, it becomes not obvious that it is the human voice, but it is, so I'm going to take you through it bit by bit and start nice and simple. So the polyphony problem: I've only got one voice. How do I get around the problem of really wanting to have as many different voices going on at the same time. The simplest way to do it is something like this. (Beatboxing) By dancing. It's like this. (Music) Thanks. (Applause) So that's probably the easiest way. But if you want to do something a little bit more immediate, something that you can't achieve with live looping, there's other ways to layer your voice up. There's things like pitch-shifting, which are awesome, and I'm going to show you now what that sounds like. So I'm going to start another beat for you, like this. (Beatboxing) There's always got to be a bit of a dance at the _____, because it's just fun, so you can clap along if you want. You don't have to. It's fine. Check it out. I'm going to lay down a bass sound now. (Music) And now, a rockabilly ______. Which is nice. But what if I want to make, say, a — (Applause) — Thanks. What if I want to make, say, a rock organ? Is that possible? Yes, it is, by recording myself like this. (Organ sound) And now I have that, I have that recorded. Assign it to a keyboard. (Music) So that's cool. (________) But what if I ______ to sound like the whole of Pink _____? Impossible, you say. No. It is possible, and you can do it very simply using this machine. It's really _________. Check it out. (Music) So every noise you can hear there is my voice. I didn't just trigger something which sounds like that. There's no samples. There's no synthesizers. That is literally all my voice being ___________, and when you get to that point, you have to ask, don't you, what's the point? Why do this? (Laughter) Because it's cheaper than ______ the whole of Pink Floyd, I suppose, is the easy answer. But in actual fact, I haven't made this machine so that I can _______ things that already exist. I've made this so that I can make any _____ that I can _______. So with your permission, I'm going to do some things that are in my mind, and I hope you _____ them, because they're rather unusual, especially when you're doing things which are as unusual as this, it can be hard to believe that it is all my voice, you see. (Voice _______) (Music) Like this. (Music) So, _______ defined, that is what's possible with the _____ voice. Thank you very much, ladies and _________. (Applause)

Solution

hiring
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guitar
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physical
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enjoy
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ideas
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applause
singing
wiser
human
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putting
fantastic
imagine
music
loosely
annoyed
noise
emulate
machine

Original Text

I'd like you all to ask yourselves a question which you may never have asked yourselves before: What is possible with the human voice? What is possible with the human voice? (Beatboxing) ♪ Ooh baby ♪ ♪ baby ♪ ♪ baby ♪ ♪ baby ♪ (Baby crying) ♪ baby ♪ (Baby crying) ♪ baby ♪ (Cat meowing) (Dog barking) Yeah. (Applause) (Boomerang noises) It was coming straight for me. I had to. It was, yeah. As you can probably well imagine, I was a strange child. (Laughter) Because the thing is, I was constantly trying to extend my repertoire of noises to be the very maximum that it could be. I was constantly experimenting with these noises. And I'm still on that mission. I'm still trying to find every noise that I can possibly make. And the thing is, I'm a bit older and wiser now, and I know that there's some noises I'll never be able to make because I'm hemmed in by my physical body, and there's things it can't do. And there's things that no one's voice can do. For example, no one can do two notes at the same time. You can do two-tone singing, which monks can do, which is like... (Two-tone singing) But that's cheating. And it hurts your throat. So there's things you can't do, and these limitations on the human voice have always really annoyed me, because beatbox is the best way of getting musical ideas out of your head and into the world, but they're sketches at best, which is what's annoyed me. If only, if only there was a way for these ideas to come out unimpeded by the restrictions which my body gives it. So I've been working with these guys, and we've made a machine. We've made a system which is basically a live production machine, a real-time music production machine, and it enables me to, using nothing but my voice, create music in real time as I hear it in my head unimpeded by any physical restrictions that my body might place on me. And I'm going to show you what it can do. And before I start making noises with it, and using it to manipulate my voice, I want to reiterate that everything that you're about to hear is being made by my voice. This system has — thank you, beautiful assistant — this system has no sounds in it itself until I start putting sounds in it, so there's no prerecorded samples of any kind. So once this thing really gets going, and it really starts to mangle the audio I'm putting into it, it becomes not obvious that it is the human voice, but it is, so I'm going to take you through it bit by bit and start nice and simple. So the polyphony problem: I've only got one voice. How do I get around the problem of really wanting to have as many different voices going on at the same time. The simplest way to do it is something like this. (Beatboxing) By dancing. It's like this. (Music) Thanks. (Applause) So that's probably the easiest way. But if you want to do something a little bit more immediate, something that you can't achieve with live looping, there's other ways to layer your voice up. There's things like pitch-shifting, which are awesome, and I'm going to show you now what that sounds like. So I'm going to start another beat for you, like this. (Beatboxing) There's always got to be a bit of a dance at the start, because it's just fun, so you can clap along if you want. You don't have to. It's fine. Check it out. I'm going to lay down a bass sound now. (Music) And now, a rockabilly guitar. Which is nice. But what if I want to make, say, a — (Applause) — Thanks. What if I want to make, say, a rock organ? Is that possible? Yes, it is, by recording myself like this. (Organ sound) And now I have that, I have that recorded. Assign it to a keyboard. (Music) So that's cool. (Applause) But what if I wanted to sound like the whole of Pink Floyd? Impossible, you say. No. It is possible, and you can do it very simply using this machine. It's really fantastic. Check it out. (Music) So every noise you can hear there is my voice. I didn't just trigger something which sounds like that. There's no samples. There's no synthesizers. That is literally all my voice being manipulated, and when you get to that point, you have to ask, don't you, what's the point? Why do this? (Laughter) Because it's cheaper than hiring the whole of Pink Floyd, I suppose, is the easy answer. But in actual fact, I haven't made this machine so that I can emulate things that already exist. I've made this so that I can make any noise that I can imagine. So with your permission, I'm going to do some things that are in my mind, and I hope you enjoy them, because they're rather unusual, especially when you're doing things which are as unusual as this, it can be hard to believe that it is all my voice, you see. (Voice effects) (Music) Like this. (Music) So, loosely defined, that is what's possible with the human voice. Thank you very much, ladies and gentlemen. (Applause)

Frequently Occurring Word Combinations

ngrams of length 2

collocation	frequency
human voice	2

Important Words

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